Artwork

The Prima Macchina for the Chinea of 1765: The Garden of the Hesperides

The Prima Macchina for the Chinea of 1765: The Garden of the Hesperides is an ink print by the Romanticist artist Giuseppe Vasi. It dates from 1765 and is held in the collection of the National Gallery of Art.

About this work

It’s packed with details—like the tiny figures and ships—that make the scene feel alive.

This drawing shows a grand, imaginary stage set for a big outdoor event. At the center is a tall, fancy building with columns and statues inside its windows. Above it, three tall towers with ornate tops rise like a skyline. In front, a small crowd gathers near a waterfront with boats and people moving around.

The text at the bottom says this was built for a special visit to Rome in 1765. It’s packed with details—like the tiny figures and ships—that make the scene feel alive.

If you like this, check out etching to see how artists create prints like this.

Overview

Created in 1765 by Giuseppe Vasi, this etching documents a temporary architectural spectacle erected in Rome for the annual Chinea ceremony. It depicts an elaborate, fictionalized landscape designed as a backdrop for a ceremonial procession, blending real urban elements with imaginative structures. The work functions as both a record of a fleeting event and a demonstration of Vasi’s skill in rendering complex spatial arrangements through fine-line engraving.

Subject & Meaning

The scene represents the Garden of the Hesperides, a mythological setting referenced in the ceremonial context of the Chinea, a tribute paid to the Pope by the Kingdom of Naples. The central building, adorned with columns and statues, symbolizes an idealized classical paradise, while the three towers evoke a celestial or divine presence. The inclusion of figures and boats grounds the fantasy in the lived reality of Rome’s waterfront, merging allegory with contemporary spectacle.

Technique & Style

Vasi employed fine, precise etching lines to capture architectural detail and atmospheric depth. The composition layers distant towers, mid-ground structures, and foreground activity with careful tonal gradation, creating a sense of spatial recession. Tiny figures and vessels are rendered with clarity, enhancing the scene’s vitality without overwhelming its architectural grandeur. The technique reflects the topographical precision typical of 18th-century Roman printmaking.

History & Provenance

The print was produced to commemorate the 1765 Chinea ceremony, a tradition in which the Kingdom of Naples presented a symbolic tribute to the Pope. Vasi, known for his detailed vedute of Rome, documented such ephemeral events for a broader audience. The etching likely circulated among collectors and foreign visitors, preserving a visual memory of a ritual that otherwise vanished after the procession ended.

Context

The Chinea ceremony was a political and religious ritual reinforcing papal authority and Neapolitan loyalty. Temporary architectural displays like this one were common in 18th-century Rome, serving as public theater for power and piety. Vasi’s etching aligns with a broader tradition of documenting urban pageantry, offering insight into how spectacle shaped the experience of Rome as a ceremonial capital.

Legacy

Vasi’s etching remains a valuable historical document, illustrating the intersection of myth, politics, and urban design in Baroque Rome. While the physical structure was dismantled, the print preserved its form for future generations. It contributes to the study of ephemeral architecture and the role of print culture in shaping public memory of ceremonial events in early modern Europe.